A Royal College of Music graduate who released some of the most important UK dance records of past decades, MJ Cole’s intricate, heart-wrenching garage productions did more to link the abstract, avant-garde tendencies of the sound to the exploding mainstream scene than any other artist’s work.

Releasing Sincere in 1998, an era-defining single that was both one of the biggest influences on 21st century British dance music, and an overground hit, MJ Cole went on to sign to Gilles Peterson’s Talkin’ Loud label where he put out Sincere the album; one of – if not the – defining garage full-length, and one that spawned the massive single ‘Crazy Love’. That album was later nominated for the Mercury Music Prize.

Having never lost his touch with underground British club music, MJ Cole has released on his own label (Prolific) including a trio of EPs (Riddim EP, Satellite EP, Panoramic EP) and his underground hit with Wiley, From The Drop.

His recent remixes include Lana Del Rey, Laura Mvula, Chase & Status and many more. Meanwhile he’s produced for Wiley, Dizzee Rascal, Example and Mary J Blige among others. All of this shows a man deeply committed to thesearch for emotive, smart and brave club music.

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on Tapping The Conversation. Released on N.Y’s Word Sound label, it was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later.

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s Pressure. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on Pressure but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more…

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases Aktion Pak (Rephlex) and Money Honey (under the moniker Pressure which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva).

“It’s angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do” (Pitchfork : London Zoo 8.6)

All these connections became the starting point for London Zoo, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capital’s urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails Lights In The Sky tour.

Post London Zoo, The Bug alternated between live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound. 2012 saw a re-emergence 7″ style with his Acid Ragga imprint series. With a Roland TB-303 in hand he found the missing link between classic acid techno and digital dancehall. It was no second coming of acid/summer of love celebration. It was raw digi-grinds with the likes of Daddy Freddy, Warrior Queen, Copeland, and Miss Red up on them.

2013’s Filthy EP marked the first rumblings of a new full length record. And now Angels & Devils is upon us (are amongst us). For this album Kevin Martin has both enlisted the familiar and smashed open the idea of what The Bug is. Grouping the results in two different distinct themes of Angels & Devils under the same conceptual banner. Both a year zero of sorts for The Bug, yet drawing on what has been before. Indeed The Bug is the only producer who can bring in the likes of Grouper, Copeland, Miss Red, Gonjasufi, Flowdan, Justin Broadrick (Godflesh/Jesu), Mala, Death Grips, and Warrior Queen and make it seamless. End times need a soundtrack to prep for what’s above and below, and this is it.

Recording artist Cakes Da Killa, is a 23-year-old rapper and writer with three EPs under his belt. Cakes’ second mixtape The Eulogy was released on January 29, 2013 via clothing brand Mishka indie record label. The album quickly gained popularity when it was reviewed positively by Pitchfork and The Needle Drop.
Cakes Da Killa’s unique sound is a mix of various musical influences, cinema and underground experiences. He is praised on both his lyrical content and flow — a raunchy style usually compared to Nicki Minaj and Foxy Brown. Cakes is in the process of finishing up his sophmore album and has recently released his new single “I Run This Club” via Hot Mom USA.

Cakes has traveled to Europe, Canada and Australia, shattering the preconceived notions of what it takes to be a respected lyricist. Cakes brags that he can, “spit that shit to make a homophobe a hypocrite,” and with each release he seems to be proving his point.

Cakes’ latest project, Hunger Pangs, was released on June 18th, 2014 and can be downloaded via soundcloud.

ABOUT MIKEQ

MikeQ [Fade To Mind|Qween Beat|Mad Decent], Is an American Artist and is one of the leading figures of the US’s long-running (but still largely underground) ballroom/vogue-house culture. Based in New Jersey, the 28 year old producer is not only one of the busy DJs, but he also heads up his own “Qween Beat” Label and turns out a steady stream of vogue and ballroom tracks, re-edits, and remixes.

His spine-snapping DJ sets are seriously in demand at the moment, not just at the well-established vogue nights of his native culture and up and down the USA’s East Coast, but beyond (London, Paris, Tokyo ETC), and his exploits have been earning column inches and full spreads in press such as Vanity Fair, XLR8R, Urban Socialites, Paper Mag, Fact, The Fader, ID Mag, Time Out London, The NY Times, and more. His music has reached the likes Of celebrities such As female rappers Queen Latifah, Missy Elliott, Yo-Yo & Azealia Banks.

About GrazeDespite the skin-skimming name, Graze sink in deep. Fusing techno, garage, and the broken rhythms of contemporary bass, their six-track EP rattles the ribcage as thoroughly as you’d expect from these two. But the project also represents an effort to look beyond club-music cliches. Their music has the kind of emotional weight and musical narrative that are all too rare these days — and it does it without resorting to the same re-pitched R&B samples and rainfall noises that are all too common in “deeper” strains of bass.

The duo’s backstory is emblematic of a broader convergence in club music. Both producers hail from different corners of Toronto’s fertile club scene — Marshall from house and techno, Andersen from jungle and dubstep. The two met up in Berlin, and, as fans of each other’s work, decided to join forces for a series of “upfront dance-floor tracks” that occupy the netherworld between their respective traditions. They aimed for that elusive sweet spot — neither gimmicky party jams nor flaccid, “experimental” brooders — and they nailed it. You can hear each producer’s hallmark: Marshall’s brushed stainless steel drums and watery chords, Andersen’s glowering sub bass and spine-tingling textures. They meet in the middle with their shared sense of swing, poised on the verge between jacking house and halftempo swagger.

About StrategyStrategy, a human of Portland, Oregon, in the future autonomous bioregion CASCADIA, western North America. Schizophrenic-like genre hopping all under one name: experimental, house, techno, ambient, and dub together.

About Nordic SoulNordic Soul has deeply impacted the electronic community not only through his work for the annual Decibel Festival but also by slaying Seattle dance floors year-round. His emotionally charged sets are infused with live instrumentation and ripe with the mélange of organic and synthesized tones, all riding on top of heavy bass lines. The resulting music is a living, hybrid creature with a rich sense of soul that delights in its own existence. A lover of many musical styles, Nordic Soul’s interest and roots in hip hop, IDM, industrial, and dub contribute to his current musical palette that straight drips techno into the mouths of the waiting audience, thirsty for the unrelenting madness and unabated aural penetration that is electronic music.

Nordic Soul has released music on a wide variety of labels including K Records, Buttermilk Records, Peloton and Basic_Sounds.

About Decibel FestivalInternational Festival of Electronic Music Performance, Visual Art and New Media

Founded in 2003, Decibel Festival has become a unique platform for exposing attendees to leading-edge multimedia art from around the globe. With a focus on live performance, interactive multimedia art, state-of-the-art sound and technology based education; Decibel has solidified itself as one of the premier electronic music festivals and promotional organizations in the world. The five-day festival program averages over 25,000 attendees a year.

About BubblinShowcasing up to the time and timeless dance music sounds out of Portland, Oregon.

Bubblin was founded in 2009 by veteran DJs Lincolnup and Ben Tactic. The two bonded over their shared love of the music emerging from the intersection of garage, house, techno, and tropical bass. Aligning themselves with other renowned dance parties like Numbers, Night Slugs, and Icee Hot, Bubblin was the Pacific Northwest’s first, and remains the definitive, advocate for these trailblazing sounds.

Beyond producing and programming top notch events, Ben Tactic and Lincolnup continue to each steadily build singular artistic and DJ reputations. Ben’s lauded productions have been released on leading labels such as Mad Decent, Dress 2 Sweat (now Numbers), Palms Out Sounds and Think 2wice. Lincolnup’s highly regarded DJ mixes have been listened to by thousands and featured in publications such as Willamette Week and Trash Menagerie. Both of them are well known and regarded as savvy, adventurous, and highly skilled DJ’s that can fully turn out wide varieties of dance floors.

[About Beautiful Swimmers]Beautiful Swimmers are Washington, DC’s own waterproof producer/deejays. The Swimmers balance classic dance tracks, known and unknown, with raw, new exclusives from under the underground. Making tracks informed by the same “indescribable everything” that Resident Advisor wrote about in their Future Times feature, Beautiful Swimmers Ari Goldman and Andrew Field-Pickering (who also records as Maxmillion Dunbar and co-runs the Future Times label, an imprint thriving alongside a growing swell of producers and labels from the east coast of the USA) produce music that bounces around genres like a kangaroo. Their sold-out vinyl releases on Future Times and remixes wrap up a myriad of influences and production techniques into songs that hit you out of nowhere, with a signature sound that is somehow always changing. The duo stay firmly in the zone, carving out a spacious corner for their unique style in both DJ bags and the collections (and movie soundtracks) of a growing group of devotees worldwide.

Their 2013 album “Son” marked a next wave for the Washington DC duo. After having released multiple 12″ singles that are still rippling through the years, they spent extended studio time crafting the LP. In the meantime, Andrew also released the critically acclaimed “House of Woo” LP as Maxmillion Dunbar for the indelible RVNG label, a drum tracks 12″ on LIES as Dolo Percussion, and the reconstructed, gauzy hardcore of the ‘Highlife’ EP on Hot Haus Records. The duo keep the streak hot. Things Only Get Better In Future Times.

[About Bubblin]Showcasing up to the time and timeless dance music sounds out of Portland, Oregon.

Bubblin was founded in 2009 by veteran DJs Lincolnup and Ben Tactic. The two bonded over their shared love of the music emerging from the intersection of garage, house, techno, and tropical bass. Aligning themselves with other renowned dance parties like Numbers, Night Slugs, and Icee Hot, Bubblin was the Pacific Northwest’s first, and remains the definitive, advocate for these trailblazing sounds.

Beyond producing and programming top notch events, Ben Tactic and Lincolnup continue to each steadily build singular artistic and DJ reputations. Ben’s lauded productions have been released on leading labels such as Mad Decent, Dress 2 Sweat (now Numbers), Palms Out Sounds and Think 2wice. Lincolnup’s highly regarded DJ mixes have been listened to by thousands and featured in publications such as Willamette Week and Trash Menagerie. Both of them are well known and regarded as savvy, adventurous, and highly skilled DJ’s that can fully turn out wide varieties of dance floors.

Claude Young Jr. is acknowledged globally as one of the most respected producer / DJs to come from the legendary home of Techno, Detroit, Michigan (USA). Magazines, newspapers & websites frequently credit him as one of the most exciting and innovative DJs of the last two decades.

Currently Young is producing his new solo album “Celestial Bodies” for Japan based label Fountain Records. He is one half of the group Different World along side long time friend and production partner Takasi Nakajima. After their highly praised first release “Rapture” for UK artist Kirk Degiorgio’s ART label, a Remix for Phil Agosta’s single “Carousel for KMS Records”, and Octave One’s last single “New Life” for 430 West Records, Different World have now been signed to Kevin Saunderson’s legendary KMS Record Label. DW also performed their first live show as the headlining / closing act on the Detroit Stage of the 2007 edition of the Detroit Electronic Music Festival “Movement”. Young returned to his home town in 2011 to perform the closing set on the Made in Detroit Stage at “Movement 2011″ and his set was praised by many as the hi-light of the festival weekend.

URB magazine said of his performance “Closing out the festival with the longest performance of the entire weekend, Claude Young played a set for the ages. Ranging from jacking house to minimal and more industrial rhythms, Youngʼs homecoming was a delight for those who knew to gather at the Made In Detroit stage, which boasted an excellent sound system and an impressive collection of fellow Detroit DJs and producers (BMG, Carlos Soufront, T-1000, Derek Plaslaiko, Patrick Russell, Traxx) gathered to dance to one of their friends and heroes.” Following his various solo club and festival performances Young and Nakajima finished 2011 with an extremely impressive tour of the USA as Different World, performing an 8 Hour (all night) set at the legendary “BUNKER” club in New York City, then moving on to play Washington DC & Pittsburgh all in a matter of a few days. DW frequently tour Europe on a regular basis frequenting Tresor Club (Berlin), Berghain (Young was invited to play their 6th Anniversary Event and was a frequent guest at their original club Ostgut), and many clubs in Spain, Norway, the UK, France & Belgium just to name a few.

His solo production, official DJ mixes and Remix credits include: Mixed the only official DJ Mix Compilation for Jeff MIlls Axis Records (AX-033 Claude Young – Thoughts Of Phutura), His own Claude Young DJF-1100 Mix for Sony Music Entertainment Japan, his legendary Claude Young DJ-Kicks Mix for K7! (K7045cd), Three Berlin based mix CDs, DJ Rok / Claude Young – Essential Underground Vol. 03: Berlin / Detroit, Raveline Presents: Paradise Mixed by Claude Young & a mix for long time Austrian Born Berlin Based friends Memory Foundation / Ratio – Welcome To Central (mixed by Claude Young).

He has remixed & produced records for some of the most respected names in the business across all musical genres including Octave One, Inner City , Carl Craig, Jay Denham, Sven Vath, 4Hero, Slam, Joey Beltram, Gary Numan, Mijk Van Dijk, Technasia, Andrew Duke, Beroshima, The Reese Project, Musto & Bones and many more.

When it comes down to all the press and hype, his name says it all. He is Worthy. With an in-depth knowledge of production, mixing, and performance, Worthy has the insight to play for his audience, cultivating intense positive energy on the dance floor that can only be portrayed as superhuman. His sound can be described as organic breakbeats with a mix of future house, 80’s, booty bass, and techno. As Carl Cox said, “The Worthy sound has always been powerful, rocking, funky, bass-driven music at its best, and for me this is the new wave in house music.” Worthy has received the recognition of major producers who have played his tracks including Sven Vath, Diplo, and Richie Hawtin, among many.

From salty aired islands to dark club basements, Worthy pays reverence to the traditional form of classic house while tripping off the mark and sinking into the euphoric less-charted territories of booty-clapping bass. Touring the globe, Worthy has performed at renowned venues like Hive in Switzerland, Sankeys in the UK, Electric Pickle in Miami, and Mezzanine in San Francisco. Beloved by his fanatical devotees, Worthy has drawn huge crowds to catch his heart-palpitating, sweat-inducing sets at festivals like Ultra, Love Parade, and Burning Man. In 2011, Urb Magazine named Worthy one of the Top DJ’s To See at Burning Man, along with M.A.N.D.Y., Andy C, Soul Clap, Seth Troxler, and The Crystal Method.

Growing up in Washington DC, Worthy was inspired by the early American rave scene. Upon moving to New York in the late 90’s, he was exposed to artists like LTJ Bukem and Stacey Pullen whose music inspired him to play records across multiple genres, from techno and breaks to hiphop and drum n’ bass. In 2001 he swapped coastlines, moving to San Francisco to pursue his music career. He team up with Claude VonStroke as well as fellow east coast brothers Justin and Christian Martin to create the prodigious outdoor party, Dirtybird, which quickly became an institution and a requisite destination for die-hard Bay Area and international fans. Dirtybird Records hatched from the popularity of these parties in 2005, and since then the label and parties have enjoyed tremendous success fueled by the obsession of their cult following.

In 2007 Worthy’s breakout track, Irst Te, released on Dirtybird, quickly established his notoriety as a producer. Concurrently, Worthy released Crack El EP on Leftroom, and soon after, the track Work The Walls and it’s accompanying music video on his personal label, Anabatic Records. Originally intended as an outlet for the release of his own music, Anabatic quickly branched out to sign new artists. Riding the frontlines of today’s music scene, Anabatic Records has been providing a steady stream of edgy, high quality tracks.

In recent years, Worthy has produced a consistent slough of top releases. The release of Worthy & Yankee Zulu’s Concumbia charted in the Top 10 on Beatport for tech house in 2009. He also released various tracks and remixes on Discobelle Records. In the fall of 2011, Worthy teamed up with UK producer Eats Everything. Their first track, Tric Trac, released on Dirtybird received industry praise. Played by artists like Diplo, Boyz Noise, and Cats N’ Dogs, Tric Trac wildly grew in fan appeal moving on to become one of the Top 10 on Beatport for tech house once again. Additionally, Worthy’s simultaneous releases, No Cure and With This combine dirty ass-clapping breaks and gritty synths. The pinball effect of his intricate basslines traverse across the cavern of your ear canal moving inward and blowing your mind. Illustrating the diverse juxtaposition of his range and sound, his February 2012 release, Why You Waiting, on Alive Records, is like glassy water on a quiet morning sea, his beats & melodies mirroring each other, creating a melodic interface that warms the soul. As Worthy states “I want to push my new sound, which is leaning more toward a breakbeat old-school vibe, but still want to keep with the fact that I play house and techno. My focus is to stay innovative and authentic and to continually reinvent myself as an artist.”

Worthy has an original flavor that will amp you up, leaving you feigning for more. The synchronization of Worthy’s music speaks to the connoisseur, the DJ, the groupie and the novice alike. Finding balance and unison across all electronic music platforms, his music is unparalleled. He reads his crowd, breaking and fusing genres, blending styles, and establishing an energetic dance floor camaraderie that makes even the most skeptic hater’s booty shake.